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.■\«.&Q6<£taa£ 




Given By 
anonymous 



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FOR THE 



Baritone and 
Valve Trombone 



1! 



BASS CLEF 



&yT. H. ROLLINSON 






Boston: 

Oliver Ditson Company 






Rollinsorfs 

i » 

Modern School 

for the 

Baritone 

AND *t>xoA>te*x 

Valve Trombone 

TREBLE CLEF 

BY 

T.H.Rollinson 



BOSTON 

OLIVER DIT5 0N COMPANV 



NEW YORK 

CHAS. H.DITSON & CO. 



CHICAGO 

LYON & HEALY 



Cop3Tig-ht MCMXXIIby T.H.Rollinson 




l A vc pi 



Author's Preface . 

Many instruction books on the art of playing the different 
brass instruments present difficulties of a physical nature at 
the beginning which are serious obstacles in the path of the stu- 
dent and they often so discourage him that lie gives up the study 
in despair. 

I have endeavored to partly supply this deficiency by writing 
a work which will be thoroughly progressive, correct in its theo- 
ries, and of a purely practical nature throughout. 

I have made it a point to write all elementary and prepara- 
tory studies in a very easy compass, believing that the student 
should not proceed in a course of practice which will cause an 
undue straining of the muscles of the lips. 

I believe that many of the defective habits are caused by prac- 
ticing in a high compass before the lips and muscles have been suf- 
ficiently trained. 

The beginner should follow a systematic course of daily prac- 
tice and I feel confident that if he will tread the path I have laid 
out, perseveringly and faithfully, he will meet with success. 

T.H.Rollinson. 



7] -57115-95 



CONTENTS. 



Page 

Rudiments of Music 5 

The Baritone and Valve Trombone 12 

Table of Fingering 13 

Elementary Exercises 14 

Preparatory Studies 18 

Exercises on Sixteenth Notes 21 

Syncopation 22 

Taking the Breath 22 

Dotted Eighth Notes 23 

Double Dotted Notes 23 

The Saccade 24 

The Staccato 25 

The Slur 26 

The Portamento 28 

Tonguing in the Sound 28 

Major Scales 29 

Minor Scales 29 

Fifteen Studies on the Scales 31 

Chromatic Scale 35 

Exercise on Chromatic Passages 36 

Twelve Technical Studies 37 

Embellishments ,41 

The Turn 43 

The Trill 44 

The Appoggiatura 45 

The Gruppetto , 46 

The Mordente 47 



Cadenzas 48 

Triplets 49 

Major and Minor Chords 50 

Diminished Chords 52 

Intervals 53 

Twenty One Studies and Etudes 55 

Military Band Studies 68 

RECREATIONS. 

The Radiant Heart Lang-ey. 82 

Andantino Beethoven. 82 

Love's Old Sweet Song Molloy. 82 

Of Thee I Am Thinking , Strelezki 83 

Serenade Rollinson. 83 

Love's Golden Dream ". Lennox. 83 

Afterwards Mullen. 84 

Ballad of the Dreamers Geibel. 84 

The Mariner Diehl. 85 

The Mighty Deep .'. Jude. 85 

The Vicar of Bray OldEng-lish. 85 

Air Varie Delmonico. 86 

Where the Green LeavesWhisper Low... St.Quentin. 87 

Down Among The Dead Men Phillips. 87 

Air Varie "Le Pirate" Berr. 88 

Souvenir du Poitou Leg-endre. 90 

Cujus Animam Rossini 92 

Grand Fantasia "Anna Bolena"..... Revloff. 93 



Dictionary of Musical Terms 



96 



71-57115-95 



Modern School for Baritone 
and Valve Trombonej): 



RUDIMENTS OF MUSIC. 



A Note is a character, which by its formation indicates the duration of a musical sound, and by its situa- 
tion upon the staff, its proper pitch. 

The Whole Note (o) is the longest note now in use. 

The Half Note io) has a stem added and has one half the value of a whole note. 

The Quarter Note (J ) has one half the value of a half note. 

The Eighth Note ( Jv is the quarter note with a hook added and has one half its value. 

The Sixteenth Note vJv has two hooks, and has one half the value of an eighth note. 

The Thirty-second Note \JV has three hooks, and has one Jialf the value of a sixteenth note. 

(%) 

The Sixty-fourth Note VJV has four hooks, and has one half the value of a thirty-second note. 
The stems may turn either up or down, and the hooks may turn to the right or left or be joined together 

thus.- } 9 r =LW rm 

The unit of value in time is called a "beat" or "count", the value of the unit being determined by the tem- 
po in which it occurs; thus a note might have the same number of beats or counts in a lively tempoyet not be 
sustained one half as long as one in a slow tempo. 

The relative value of the notes always remains the same. 

A Whole Note equals two Half Notes, or four Quarter Notes, or eight Eighth Notes, or sixteen Sixteenth 
Notes, or thirty-two Thirty-second Notes, or sixty-four Sixty-fourth Notes. 

The value of the Whole Note is usually four "counts." 

The Pitch of a note is determined by its position upon the staff. 

A Staff consists of Five Lines and four spaces. 



Staff with notes in spaces and on lines. 



4th 



space 



m 



5th line 



4. 


11 


a. 


» 


«. 


1} 


i. 


!> 



When these five lines and four spaces are insufficient the staff is enlarged by the addition of more lines 
called "Added Lines," 

Added Lines and Spaces Above and Below the Staff. 

2 d 3 d . %^ 1± Spaces above. . 

o 



1st 
Lines above +&. 



XI 



3d 



4th 

XL 



5th 



Lines below jst 



2d 



34 



■©■■ 

4th 



75 * 

— H 2d 

-^ Spaces below. 

5Lh 



3d 



XT 

4th 



These several lines and spaces are called "Degrees." 

Another character is still necessary to fully determine the pitch of a note. 

This character is called a "Clef, ,, and is placed at the beginning of a staff. 

The line upon which a clef is placed takes the name of the clef, and the remaining degrees of the staff 

receive their names in alphabetical order. 

The "G" clef, or "Treble" clef, is placed on the second Hue of the staff, thus 



! W 



All musical sounds are capable of being noted, classified, and represented by the first seven letters of the 
alphabet, A, B, C, D, E, F, G, - differently placed and arranged. 

The second line in the treble clef is G: this is called the clef note. J/ 1 — j— 
The next degree above would be A, and the next below, F. iSft * ~*~ 



1^ 



This clue being given, it is a very simple matter to determine the names of any given degrees. 
The following gives the names of the different degrees in the treble, or G clef. 



56907-111 



Lilies 



Spaces 



P^5 



i 



» * 



EG B D F FA CE EFGABC'DEF 



£eJ=I 



fe.1 



D B G E C A F 



G B D 



C E G B 



5 = 



^Tf 



The F Clef or Bass Clef, is placed upon the fourth line: r2: 



S 



The following are the degrees in the F, or Bass Clef: 

F i 



I 



J J I f rjj 



£ 



f 



f 



Clef note A C E G 



G B 



F A 



G A B C 



E F G A 



* f t 

^ r - f f f f- 


r f r F i 

_|_^ 1 J ! 


»- 


F D B G 


E C A 

i 1 — — i 1 II 


B D F A C 


C , E G B 


D 


. J J ± \ 


' ' i j a J 



Each note has a corresponding "Rest" which is used to indicate silence, equal in length to its own particular note. 



P^=f 



f 



¥ 



Whole Rest. Half Rest. Quarter Rest. Eighth Rest. Sixteenth Rest. Thirty-second Rest. Sixty- fourth Rest. 



* 



£ 



m 



* 



A Dot placed after a note increases its value one-half. Rests may be affected in a like manner 
Dotted Notes. 



Comparative Value. 



3E 



3£ 



r m -if 



=p= 



P ' P P ' P F ' f^p 



Dotted Rests. 



Comparative Value.l 



* 



^^ 



^^ 



.7 1 y j TT ^ 



A Slur placed over two different notes,thus: P P 1 indicates that they are to be played as smoothly as possible. 



When the slur is placed over two 
notes occupying the same degree, thus: 



u n 



it is called a ''Tie" and indicates that the two are to be per- 
formed as one. The tie is useful in connecting two notes 



when one is the last of one measure and the other the first of another, thus: 



IZZZ 



£ 



fr a 



Bars are perpendicular lines drawn across the staff to divide it into equal portions of durations. These 

divisions are called "Measures." 

Bar. Bar. Bar. 



Measure. Measure. 

The division which is here called a "Measure" is also sometimes termed a "Bar." 
The Double Bar indicates the end of a strain or composition. 



50907 111 



Dots placed on the left of a double bar denote that a part is to be repeated, usually from dots placed on the 
right of a bar, thus: 



urii:rifi^^f i ^Lffi:j' , iL''Lfi^wiLrrriP.a 



In the above example all but the first two notes are repeated. 

Rests are not connected by t5es,:p.or are they confined to any particular position upon the staff. 

TIME. 

The Time Mark, placed at the commencement of every composition, determines what shall be the contents 
<t>f each measure. Of these there are several in use. 

\— H or jj£ indicates Common Time, the value of a Whole Note in each measure. 
Figures indicate fractional parts of a measure. 

-/-orG indicates four quarter notes, or their equivalent, counting one to each quarter note and four in a measure. 
2orjJl indicates the equivalent Of two half note$, counting one to each half note and two in a measure. 

-g— Three quarter notes, counti/ng one to each quarter note and three in a measure. 

2 

X~Two quarter notes, counting one to each quarter note and two in a measure. 

^- — Three eighth notes, counting one to each eighth note and three in a measure. 

A 

g^'-F^ur eighth notes, counting one to each eighth note and four in a measure. 

fi 

¥-Six eighth notes, counting one to each eighth note and six in a measure. 

Compound-Times are those which include or exceed .S7*o/ parts in a meas/Ure, and contain t?vo, or more, 
• i fi Q 19 A 

principal accents, as •§-, -£, 4f , -R, etc. 

fi <) 19 

tv,|?-, and ^, denote respectively six, nine, and twelve eighth notes in a njieasure, counting one to each dotted 

quarter note, thus: 



3E 



^m 



s 



m i? r h 



Count 1 



nm 



M m m m 



' r r r r 



39= 



^ 



m 



1 



mmmmmmm- m 



s 



% 



t- 



Courit 1 2 3 12 34 1234 12 34 

Sometimes rests are introduced giving a number of measures rest, but they are, however, better indicated 
by figures giving a number of measures, thus: % 

18 28 2 



To show the end of apiece, the double bar is sometimes marked with a Pause (rt\) placed over it, thus: 

and sometimes with the word Fine placed over, under or after it, thus: I Fine. 

The Pause 0?\) when placed over a note or rest, prolongs it beyond its proper value. 
A slur over three notes, with a figure T indicates that those three notes must be played in the time of two. 



I 



Sometimes the figure s is placed over the three notes without the slur, thus: 
This group of three notes is called a triplet. 




the result is the same. 



56907-111 



SIGNS 



A Sharp (p placed before a note raises its pitch one halftone (semitone). 

A Flat (?) placed before a note lowers its pitch one half tone. 

A Double Sharp (x or x) raises the pitch two halftones. 

A Double Flat Oh) lowers the pitch two half tones. 

A Natural (tj) is used to restore a note to its natural pitch after being affected by a # or k 

A double sharp is generally used to raise the pitch of a note already affected by the signature, and a double 
flat to lower it under the same conditions. To restore such a note to its natural pitch in the key indicated by 
the signature, the natural is used in conjunction with a sharp or flat. 



Examples. 




■&- 



-x& 



-W 



^W 



kk 



m 



^ 



* 



fe 



Staccato (0 000) indicates that the notes are to played short and abruptly as if you were playing on sticks. 

Crescendo, crew, or -=r: the sound to be gradually increased. 

Diminuendo, dim, decrescendo, decresc. or r==- the sound to be gradually diminished. 

p - Piano or soft. J- Forte or loud. 

pp - Pianissimo or very soft. J.'f- Fortissimo or very loud. 

Jp- The note to be commenced loud,then immediately soft. 

sf'z or sf - Placed under or over a note signifies that such a note is to be struck forcibly and very loud. 

>— The note is to be accented but not necessarily loud. 

A — The note is to be sustained to its full value. 

D. C. or Da Capo (from the beginning), signifies that the piece must be played over from the beginning, 

(or, if a collection of numbers, as a set of waltzes or quadrilles, from the beginnig of the number) either to 

the end, or to a finish indicated by a double bar marked Fine or with a o*. 

D. C. al Fine. — From the beginning to the finish. 

_•* 
D. S. or Dal Segno. —From the sign rz 



to the end, or finish. 



D. S. al Fine. - From the sign to the finish. 

The sign ^ is usually used to indicate a skip to a Coda, at the will of the performer or leader. It some- 
times indicates a skip to a second Trio. It is also used to indicate a "Cut," that is, an omission of part of a com - 
position. In any of the above cases the part to which the skip is made, should have the same sign at its commencement. 

Sometimes the sign bears the accompanying words, "al Coda" meaning to the Coda. 

The Coda is a movement added to the end of a composition to make a more effective finish. 

ABBREVIATIONS. 

To save space, common use is made of the following forms of abbreviation. 
'/ or N - Sign of repetition of a whole measure, thus: 



Written. 



Plaved. 




^ 



S 



S 



3t 



ffl5jj 



nT }\iJ T]\r ] 



p 



This sign is sometimes improper/?/ used to indicate the repetition of part of a measure. The proper sign, 
however, is % or •. EXAMPLE. 



Written. 



The sign 



Written. 



Plaved. 




across a single bar indicates a repetition of two measures, thus: 



2S 



• i? » 



g 



i 



* 



*-^* 



i 



^ 



iss 



The sign \or / placed under a whole note or across the stem of a half or quarter note, thus:- o a J, 
indicates that its value is to be played in eighth notes. This sign ^ indicates that xixteenlh notes are to be 
played, and ^ thirty -second notes. 

EXAMPLES. 



Written. Plaved. 



Written. Flayed. 



£ 



3T 



1 








£ 







33= 



Written.' Played 



Written. 



Plaved. 




' | | p | | g g 



^^ 



Written. Played. 



Written. 



Flayed. 



27/.S (twice) indicates that the passage marked is to be repeated, and is used for short repeating passages 
where the ordinary repeat marks might be overlooked. 



I Bis. 



Written. 



Played. 



rz± 



/7\ 



P 



I 



1 



1 



/T\ 



y u y =? 



The musical Alphabet consist of seven letters. These seven letters, with the use of sharps and flats in- 
dicate twelve different musical sounds by the different combinations of which all musical effects are produced. 
When these seven letters, or primary sounds, are arranged in consecutive order they form a Scale. 

A SCALE. 



C 



TV 

D 



-o- 



33= 



-©- 



33= 



-©- 



331 



B 



The eighth sound (or octave) bears the same name as the first, and must be considered merely as a repe- 
tition of that sound. In the same manner were we still further to ascend in the scale, the ninth would be a repe- 
tition of the second, and so on. 

This,perhaps, maybe more clearly understood if we consider that, in ordinary language, any letter is the 
same in sound whether it be written large or small, (A,A,a,a,) thus the following example is merely an ex - 
tension of the scale, or a continued repetition of the first seven sounds. 




15 16 17 IS 19 20 21 



=cr 



-o- 



=«*=^ 



22 23 24 25 26 2? 28 29 



o ° ° 



TV-®- 



m 



~r»- 



-o- 



3X 



-O- 



H 9 10 II 12 13 14 
o <> 



1 2 3 4 5 fi 



3 4 5 6 7 



jq: 



-«> 



-n-«- 



33: 



-tv 



1 2 3 4 5 6 7 
515907-111 



1 2 3 4 56 7 



10 



Any scale is a Diatonic Scale which contains the seven letters (beginning- with any one of them), and the 
octave of the First, in regular order without repeating any one of them in any form, thus C,D,E,F,G,A,B,C, 
is a diatonic scale, while C, I), E, E#, G, A,B, is not. Still the musical sounds would be the same in either case. 

The scale in our example is the Diatonic Scale of C Major. We will again give it and under it a Chromatic 
Scale which gives all the intervening musical sounds. 

12 3 4 5 6 7 8 



33 



-o- 



33! 



~V*- 



3T 



-O- 



33: 



1 



-p. 



2 



33" 

3 



# 



cr 



-o- 



ICE 



1 



or 



-€»- 



m 



33: 



^ «> « " — 



o: 



10 



11 



12 13 



It will b^perceived from the above Chromatic Scale that there are twelve different musical sounds in an 
octave. Five of these sounds must therefore be named from the letters representing the other seven sounds. 
It willbe observed that between 3 and 4, also between 7 and 8, there are no intervening sounds. These inter- 
vals are therefore termed half-tones. The other intervals are termed whole-tones. 

From C to D is a whole tone (or whole step), because there is a note half way between them, called C# (or 
it may be termed DN). 

From D to E is a whole tone, because D# occurs between them. 

From E to F is only a half tone, as there is no sound between them. From F to G, G to A, AtoB, arewhole 
tones, and from B to C a half tone. 

The Chromatic Scale is a scale of half tones. 

Now let us commence a scale on another letter, thus: G, A, B, C, D, E, F, G. 

Here are eight letters in regular order and it is an established natural fact that the half tones occur between 
E and F, and also between B and C. 

In the Diatonic Major Scale the semitones must occur between 3 and 4, and also between 7 and 8. 

SCALE OF G.CIiicorrcct.) 



-«- 



3E 



-»- 



3E 



-«*- 



12 3 4 5 6 7 8 

The curved line (/ -J shows where the half tones occur in the natural tones, but they must occur between 
3 and 4, also 7 and 8. 

In the above scale they occur between 3 and 4, which is correct, but the other half tone is between 6 and 7, 
which is incorrect. We cannot change the letters, but we may change the sound of one of them by the use of a 
sharp (#). Thus the interval between 6 and 7 may be extended from a half to a whole tone, by placing a sharp 
before the F, as in the following example: 

SCALE OF G. (Corrected.) 



i 



w 



-O- 



33: 



-«- 



3X 



-«- 



3E 



12 3 4 5 

By analysis this scale will be found correct in intervals. 

We give another commencing with F. 



i 



w 



33: 



-O- 



331 



-O- 



331 



-»- 



XE 



-&- 



12 3 45678 

In this scale the half tones are found between 4 and 5, which is incorrect, and 7 and 8, which is correct. 
The interval between 3 and 4 is here a whole tone. We can reduce it to a half tone by lowering the B a half 
tone, by the use of a flat (I?), thus:- 

— o 



56907-111 



# 



33: 



-o- 



33: 



-9-&- 



33: 



-ev- 



33: 



1 



2 



3 



5 



8 



Ji 



From this we draw the inference that the principal use of sharps and flats is to preserve the intervals of 
the Diatonic Scale, either Major or Minor. 

The First of a scale is called the Key Note. 

In the Minor Scale the intervals are as follows: 1 to 2, whole tone; 2 to 3, half tone; 3-to 4, whole tone; 4 
to 5, 5 to 6, 6 to 7, whole tones; 7 to'8, half tone. 

This formation is called the Melodic Minor Scale. 



-o- 



SCALE OF A MINOR. 



-«*- 



Vf 2 3 456 7 

Sometimes this scale for Harmonic purposes is different in descending* thus: 




-e- 



I 



lg tones, ^tone. 



4i- 



-O- 



jaz 



-»- 



jCE 



In the above we have half tones between 2 and 3, 5 and 6, 7 and 8, while between 6 and 7 is a tone and a 
half. This is called a Harmonic Minor Scale. 

It would be confusing to place a sharp or flat before each note, therefore when a certain scale is desired, 
the sharps or flats are placed in a group at the beginning of a staff. 

This group of sharps or flats is called the Signature, as it is the sign by which the key or scale is known; 
if there is no signature, the composition is said to be in the natural key, or key of C. When sharps, flats or natur- 
als are used anywhere except in the signature they are called accidentals, and are in contradiction to the signa- 
ture. An accidental usually only affects the note in the measure in which it occurs. If the last note of a ineas - 
ure is affected by an accidental, the first of the next, (if the same note,) is also considered affected by it, but to 
prevent misunderstanding should also have the accidental, and if a note which is affected by an accidental oc- 
curs in the next measure, it should be restored by an accidental, although the effect of the accidental does not ex- 
tend beyond the measure in which it is placed, (with the single exception-given). 

Each | or I) in the signature affects the note throughout the piece, unless contradicted by a change of signature, 
or by accidentals. 

INTERVALS. 



An interval is the difference in pitch between two notes. 
A degree is a visible distance referring to lines and spaces. 



Two notes occupying different degrees but 



the same in pitch,thus: 




5 



^ 



constitute an enharmonic interval. 



Two notes upon the same degree even if different in pitch are called a prime. 

TABLE OF INTERVALS. 

Primes. Seconds. Thirds. Fourths. Fifths. Sixths. Sevenths. Eighth or Octave. 




Minor 



Minor Imperfect 



Imperfect Minor 



Minor 



Imperfect 



Ninths. 
Minor 



5 



$ 



!;o 



>-o- 



x>z 



4>- 



£ 



4Z- /*5- 

Majo r 



* 



*v 



XE 



O- 



Per fect 



Perfect 



M ajor 



-e- 

Perfect 



Major 



Mai or 



«> -o — 

Augmented 



-«v 



m: 



-o- 



xs; 



-«- 



Perfect 

-UL 



Major 



-o- 



Aug~mented 



Diminished 



Aug-menied 



Augmented 



Aug~mented 



-o- 

Diininished 



5 



Aujrmented 



-*v 



^ 



IF 



::aa: 



o 



::3ol 



o 



-*»- 



I-e- 



-o- 



o 



-*v 



-t* 



Tenth 
o 



Twelvth 
o_ 



Thirteenth 



Fifteenth 



9J -*> •*> -*V -*V 

The tenth can generally be termed a third, the twelvth a fifth, and the fifteenth an eighth or octave, in facteach 
of the above intervals in harmony is generally considered the same even if the upper note appears in another octave. 

56907-111 



12 



THE BARITONE AND VALVE TROMBONE 

(BASS CLEF) 



The Baritone (Euphonium or Euphonion) has three, and somotimes four valves. The instrument with 
three valves is, however, the one in most common use. The three valves are operated by the l^t, 2^, and 3" 
fingers of the right hand, and the 4^h valve when in use, by the 1st finger of the left hand. 

The instrument is sustained, and the pressure of the mouthpiece upon the lips regulated, by the left hand. 

The valve trombone is the substitute_ for amateurs for the slide trombone, as it requires less study 
and practise to become a fairly proficient performer upon it. 

The B\> Tenor is now nearly an obselete instrument in America, the parts formerly written for it now 
being adapted to the capabilities of the slide trombone. 

The music for these instruments is generally noted in the F clef and the scale is then at actual pitch. 



The G clef is, however, also used to accommodate players who already being" familiar with it are indisposed 
to learn the other. When the music is noted in this clef the scale of either instrument is the same as that of the 
Bb Cornet, therefore we introduce no exercises for them written in the G clef in this work, but recommend 
those who persist in adopting that theory to purchase a separate method. The performer should however learn 
both clefs if he is in a position to command professional business as a knowledge of both may be required in 
playing from some foreign publications. 

Production of Tone. 

Place the mouthpiece upon the middle of the lips and rather more upon the upper than the lower. Make the 
pressure upon the lips as light as possible and rely principally upon the action of the lip muscles to regulate the 
pitch, for a reliance upon pressure is an uncertain, basis. 

The tone is produced by a vibration of the lips, assisted by the mouthpiece and tubing of the instrument. 

The most common method of attack is that of a mute articulation of the syllable Tu, (sound of u as in sun,) 
but when a very rapid movement is required,this stroke of the tongue is too long and a soft attack is made with- 
out discontinuing the air current. This articulation is attained by the use of the syllable Bu, but should only 
be used when the repetition is too rapid for the syllable Tu or when "tonguing in the sound" as indicated in 



the following 



example:- Is' (/ \ ~ \ \ 




Avoid all contortions of the face, puffing out of the cheeks, forcing the tone spasmodically with the breath 
after the attack, stopping the tone with the tongue, and also the habit of chronically carrying the tone from one 
note to another. 

Recognize the fact that the tongue bears the same relation to a wind instrument as the bow does to the violin. 

The first studies are of the utmost importance and should not be slighted because they seem simple. They 
are the foundation of the future career and every obstacle must be overcome as you proceed. 

The Baritone with four valves will produce the following low tones, viz: 

l l 

- 2 2 



3 



El 



XT 






C 



XT or fe 



The following Pedal Tones are also possible, but not of practical value except to the soloist; - 



- )'• D l> £ Jp 



35= 



=GF 



M 







-o- 

2 



l 



XT 

1 
2 



V5 
2 
3 



1 
3 



XV 

1 
2 
3 



S 



1 
4 



All of the exercises in this work will be written for the instrument with three valves, the only practical use 
for the fourth valve being that of assisting to produce tones below low Etj. 

71-57115-95 



TABLE OF FINGERING. 

FOR THE BARITONE AND VALVE TROMBONE. 



OPEN TONES. V' \, 



o 



-©- 



»_Q_ 



-Q- 



-11 



t>-»- 



13 



Harmonics. 
Too Flat. 



24 VALVE. 5S 



1st VALVE. 3= 



jcc: 



ax: 



^ 



3E 



-O- 



fe 



^O- 



>jQ 



k* 



1st & 2* Valves, y 

or 3^Valve alone, ztzzzz. 



-©- 



-o- 



331 



Ha- 



See note 



" 2i & si Valves. 3 



is* & 3 d valves. 3 



ist,2§,& 3§ W 

valves. EEE 



^»- 



G~ 



►o- 



3E 



O^ 



fSSZ 



See note 



V 



£e 



See note 



-e- 



all bad 



i 



-or— 90- 



W 



^-^ 



£ 



Note-. It will be noticed that in many cases the same tone may be produced by different fingerings. 
Those written in Half Notes are only practical for the purpose of avoiding awkward execution. All written 
in quarter notes are bad and should not be used, except that the fingering of Gf , or Al> with the 1st Jjd^ & 3d 



Valves may be used in executing the following trills:— 



Fingering of the Chromatic Scale. 

Using sharps in ascending and flats in descending. 




3 



W^ 



F F 



3 

G 



* 



I 1 

-3-1 % 



a a 3 fa 



^ 



2 - * I 1 " ° =5===2: 



g 



tte £ te g #£ 



£ 



Tones not in common use 

—4— =3 F = 'a g 4-- 



1. 






3 






^ I, 



1 






£ c D 



i 



Pee 

— k^- 



2 

it 







4 



<P 



F 



± 



2 
-3i 



71-57^5-95 



f^? 



feH j — y 



!'^ 



$2 



A 
2 



/? 



2 

1 

2- 



/O 



5 4 A 



\>o =3^ \ Jr y 



14 



ELEMENTARY EXERCISES. 



Attack each note resolutely. 



1 2iE=ri--tf=d ^^ 



r\ 



r?\ 



o II P 



££^£3 



XD 



£ee£3e£=? 






^ n-r tir-^ S 



^ /O 2 



/T\ o I » 



ba i ^ I; 



o ||p UfV-| g Eg YW i 



r\ 



o — f g » --& 



r i rr i rrrr 



£ 



-o- 



*): ( , gjg Eg I fff f E g 



^ 



iig I j| i > E g 



&» < g i rv P? I » 1? 



/Tk 2 



ZEE 



f li p i r^ir^rf-f 



/o 



-©- 



*-4 — J- 



or 3 



BJSls .9(9- }>&• , P O ,„!? (? s, J2j2 s J2 



V mU * I I * 3B 






2 2 



5 FP 






Chromatic result. 



I?P p ,1> 



f f > [1; 



i£_ 



^ 



» p 



§ 



"0 2" 



1 2 



2 3 



2 



With signature. Notice that B and E are affected by it. 

GL « . nh ■ m m .. O „ {? 



2^^ 



^&- 



Z2=P 



^P 



M -0 



o 



TJ 2~ 



t- 

2 



2 



gg£g g l it " Egjg lit 



fib 



r 



zz: 



U» r-73— fe— T-»~t 



# » 



/7\ 

3E 



T^ 



jy I r v ^P i^P jv I m^Z~~f^t I f V P P 1 P tf T 1 

33l 13 32 3131 3231 

3 3 



Ss 



?g — j 1 : 



ii£ 



3 2 

3 



2 3 
3 



**iW 'r i 'r^ 



• I ^ p - I p h* pf I 0'\ } * -0 



2 



g qr> 3 



-s>- 



¥S 



IE 



-»- 



KEY of Bl? 



P-^» 



zz: 



£Z_ 



££- 



j2_ 



i 



3^f^ 



&- 



-4S- 



^TF 



iSL 



<9- 



r^M^ff 



m 



i 



^ tj- Mr r r r 1 r r ^^ 



o 



^=F 



1S 1 - 



71 - 57115 - 95 



15 



4 V'U ^ -H Y' * I 'f * 



tag f I l;az 



j p i | f j 






/7\ 



gg j_ ^p=j= l»|g- j : ^ 



>> » :j. i-i £=s3Ej 



r^ 



• c ^g * i ^ J* r 



/TN 



• y i > g i - >^ i?gj- g 



/C\ 



IE 



-O- 



t*£ 



i^e- 



Enharmonic results for reference only. The two notes in each measure are alike in pitch. 

Ml 



Fo ~ Hi . '« • " Z/i a ^ '"I Q |!^I . ._ 






a 3 



S 



<cs 



■i 

2 
3 



2^: 



#- 



I 



?» r g 



PP 



HE 



rirr i rrrnr"^ 



-o- 



1 — Hi 



I — rr 



am i n!i i J !t J i Jjjj J J i JuJ J J i ^rrJ 1 1 j i JiJ j J i Jt^ 



S7\ 



JE 



3 3 3 3 



S 



fe^ 



YT\ 



fe^ 



/TV 



pd " ^o » 1* 



3CC 



0* 



*^ 



1 1 

3 2 

3 



*■ a . -P- c. 



u — r 



Chromatic result from lessons 1 and 2. 



S 



m 



i i r j r r 

S l« ll ! 2 'o 



p=f4 



m tw 



1 



4 -tt 



2 3 1 2- 



ir T~T 

3 



ktk 



» i f r i i TT 



[ I gr a j | [J I.J 4.LP I 



i •; 'o 



4 — i 



KEY of Eb 



5 ^feg 



a 



P=* 



> # 



S 



fij_ 



i 



I 



Jte. 



r\ 



^^ 1 



KEY of Bl7 



Q : mt r.r i r r ^ 



^ 



^*s 



^ 



■«- 



gl r r r 1 1 fr i^ r^rYT i r r r i r r 



a 



§1 



71-57115-95 



16 



i/O 



kgj; kp- M- )>&■ \?-' \p-' jfe Q. jg 



7 V : ', JL Uz J ^^ 



1 



Us*« I?-)©-, u 



■ 2 

!?«■ 



fe^E^^ 



fe±E3EEiE3 



te* te- te 



2ll ' , jt I ' i B 



/7\ 










^ 



Mi ^ U^ 



£ 



£ 



fe±EE^^ 



i 



a 2 k ^ te hs ^ fe l^o 



i 



g_^ ^ ^ p. *^ ^ 



s 



4 & 



-e — s- 



S 



^£ £ ^ £ ^ £ hb te- £ £ £ 



«■ tf. 



/7\ 



fe£ 



bo 



4 — e- 



Enharmonic results from lesson 3. , 



S 



£ 



& 



1=3=^=1 



-9 &- 



-e e- 



l l 



Chromatic result. 

J2/2 b^ 



S 



^ | g gg 



fi» .f »■ 



* ^ 



£ 



M l> 



i 



^ . 1 



/7\ 



/T\ 



/T\ 



O 



*>:,. 1 j I I j ES 

"■ 7—. * rn ^ T-.-i t 1 



/ 1 j i\\ i\ M 



fe^EfeiSliEi 



o llt^* U;rA l \\>rJ ' T I l > o II ^ • tg l* ' g>* ' o 



KEY of Eb 



8 ^^ 



* e £ *. *■ 



fei 



3 



Q 



*r \rt r ir^fir^ir < r i T 



£ t- + # .#- 



gg n r|nr | TVinr i r*nr*rir* 



JL 



^a 



? 



KEY of A\> 



9 ''%'' ! ><' 



r r fri¥ ? i r^ ^MM 



w r i i rV f^ 



^ ±b. 



r i f Tf T.r - i' r -> r rif r r r 



s 



£ 



2. 



r\ 



\ r Hi r * r r i r j r r i r * ' < i ^ 



B3 



71-57115-95 



17 



SCALE of Bl? 






10 HP 



^ 



r r ir ,l ^n 



^f^ 



2=^ 



SCALE of Et 


9 — 5 — 


? T 


-f 2 - ] 


©j 




2- ^ 


rf — f^n 


~f — f — ' 


*. p 




a^^U-p! 























SCALE of Ak 



^ 



„ p I r ; f 1 ? P 1 ^ 



3 






^ 



f 



l; rJ 



c 1 < -J 



SCALE of F 






^ 


, 


Gh - 


£. 


: 


g: : 


^ ? • 


2. JEL 

r f 3 






i 


P- 




/C\ 


4V /? 


r J 


V 


















i* 


n 








<r^ 


}• I* J 


















i 


1 1 














" ? ' 












i 






















1 













SCALE of C 



3^ 



22: 



£ 



/?\ 



£2- 



s 



/■V ( g 



^^ 



£ 



U^g 



fS>- 






r r r r ii Hi i ^t i r t l r f T iPr r 



/T\ 



»:i, f^ i ftirrrrfrrr 



/Ts 



£l ^:^2. jgiff. fe ft. ]»: ff. 



Hi 






^ r r |t r |T r ir~r in* ir^Tri f ^^r if r rf =g= f 



12 - y^if r rr ^ff 



#_ 



» 4* p * 1 f ^ f ^ 



g y=-r py r p i f ^ r ^ rfj; 



P ■ Zft P p ~P — ~f~~f' 



3^ 



ej » 



^ r"r r r i r*r £ £# 



(9- 



b # [* » ■ I* h f P » 



=?= 



y^ J pKriirr. 



p 



E 



p 



£- 



i 






71 - 57115 - 95 



18 



PREPARATORY STUDIES 



Exercises Introducing Eighth Notes. 



Play two 8™ notes to one count. 



i * § i j r 



m 



1 1 r i 



^g£ 



-^ — ?■ 



¥=W 



rfi L Tf i t fnt fr i trr 



s 



** Ufr i cH ' ^i^ ' r < 



rf nrCr 

i — ^*i — ' 



a s r £r i r tr i r r # 

' \> b E I ! " a 



irjiicj i i i i jn i nm a 



2 w »rrrrr* irrrrr j 



(90000 , i f 0mmm 



m rr i it cc rf 



* 



The same abbreviated. 



S 



00 00 



0-0-0-0- 



i \ iu\sn$Tt \ Tti &5m4 



m 



s ^W? 



rrr fff f-f£ f 



r irrr i rf 



Unite 



a=§ 



r T-T-r-ir r J inJ J wJir*rr »r* <-=* 



4 ^tJ zjinj 



m 



wm 



s 



_fr/ 1 rr r i tUj * i r 



£# 



^r i CjL r/i cj'MU i 



71.57115-95 



19 



n J r r ir r r I 



4 I 5 

i* — i # ^~ 



fff 



r-rr r r ir r r irr 



a^ 



zt ** + 



1 



£###£ 



£^«- 



M 



Finish for 
Kcv of C 



rrr : <" ^ 



24 y^.j r r ; Ik 



34 y^, a r r 



OTHER MODELS FOR PRACTICING THE ABOVE ARE AS FOLLOWS, 



Begin and end upon the first note of the 
second measure and play in the Key of Dk 

Begin and end upon the first note of the 
third measure and play in the Key of E k 

Begin and end upon the first note of the 
fourth measure and play in the Key of F. 

Begin and end upon the first note of the 
fifth measure and play in the Key of Gk 

Begin and end upon the first note of the 
sixth measure and play in the Key of Ak 

Begin and end upon the first note of the 
seventh measure and play in the Key of Bk 



4th g||j|| 



& &%m 



««* g i>i> h r j 



,th >>: t i . i r r ^l 



«fc. 



e^. 



efa 



etc. 



etc. 



All future models are founded upon a like system, 

f2 i r3 



6 * b'' I JU 



pff i rrfrirlfrf^i 



es 



Finish for | 
Key of B^ 




Other Models. 



s 



2 Key of C. 3 



Eb 



4 F. 



ffi 



i a r r r r Lh> s ^ a 



7 '^^^rxeir'ciLIlricilLuicg 



#^ 



^£- 



rricrrrij 



HE 



Finish for | 
Key of Bk~^ 




2 Key of C. 3 ^ 



Other Models. 




m^ntr^ m 



71-57115-95 



20 



8 



..... . I , a l I 



^ r " i r rr 



mm 



-0 — — 0- 



~ m — m 



# 



^ 



§: *. £: *. £ 



m 



f ff i frff 



-^ 



» _ » 



# — =—0- 



I Finish for 1 
Key of & rr 



I _ ™i U1 ^ n ' • 



Other 
Models. 



2 Key of C 3 Db 4 El? 



5 P 



6 Al> 



^jlJ r J « ^ j' r r r i i j f r r r 1 1 \>i r r r n tm ^ 



J= 108. One beat to the time of a quarter note at the rate of 108 beats per minute. 



9S 



_~ 



# 



zz; 



rO 



PP^i 



ZZ2Z 



£ 



IE 



Also practice in § time J = 108, 



■*a<' c ii J mt p if r if F if P 1 f' r- 1 J £ -II ° 11 


S j\i rJ ' ' A ' . 1 



9^0 J J 



_2. J^ 12 

(2 "_ (2- 



m 



r^jf 



r\ 



-©- 





f 3 


f p 






(? n 




_ 




^ 


<i\* /V 






fJ 


n ? 


\J 






» /_) 


1 


V* ' /* (^ 




1 


fJ 


v 








> . 


1 " 


-^ ■» l J 














• 


1 


r ? 
















I 



fe^ 



i , _ n\ 



Pg#R 



Z2I 



F^f 



g rj 



Extreme High And Low Notes. 



n\ 



m 



r\ 



s 



^ J J 



?* _ [>g? 



zat 



^ *l J b 



-©- 



p-e- 



xr 



/TN 



^ 



^ 



Synonymous tones. 



a ■ 2 



4i 1 



* r^r 



f?-e- 



iLJH ' ^d ti ^ £___^ 




^ 



a 



u 



m vr 









#5 






/7s 



^ ^ k 



£e£ 



w 



IJ t ' 



t te £ 



& 



1 






fe^ 



if fi l« 



i 



/TN /T 



3 



2 1 



-e — i e 1- 



t^e- 



-^ -3- 



71-57115-95 



21 



EXERCISES ON SIXTEENTH NOTES 



J. 



104 



7-\)\.-j r rr r f 



s 



— — 



— 



P3 



fe^: 



l 



The same abbreviated 



g|P^ 



m 



¥=*t 



it 







0—0 







m 



i 



ZEE 



' f |* J * ft V 



£ 



^ 



^ 



^ -^ 



BS — * 



fee 



s 



£-rgf-fcfi » -t^t» 



3 ^ a J^m ^crr icr friJ * i i^ [ gfi^ r i ttr 



^ ri rtff l ir ^f i trt tf r i nf|^t% r i^rri^;,B 



Allegretto. 






0-0 



0-0 



g 




S 






-(•-£ 



Grandioso 



Scherzo 




Moderato. 



4 3PEH§^li^ 



i 



££i 



n r tttff g ££ f i f gyr r mf ^ 




s 




£ 




Nf-g fjr tttr i r ^ c YtJ i f-tof-^ 



71 - 57115 - 95 



22 



SYNCOPATION. 



Moderato. 



i See r r r 



. A 



w=& 



i&iM 



^M^ 



r i 'i f I r i - 






A 

j2. 



. A 

-&: 



A 



£ 



A 



§ 



A 

J2. 



M 



'=-*& 



? 



3 



A 



i 



i 



2 



Allegro moderato 



2 ^ j | r 



§ 



i 



£ 



^ 



* » A 



s r * i p r Mr h^ M 



fe^ 



# a* 



♦ — #■ 



£ 



I 



feE2 



g r J i pf n^f Mr MPf 



* £ e£ 



^ 



A 



i 



I ' I ir j II 



Allegretto . A 



g ^qrjj-HJ 




1»— f» 



SP 



A 



A^ 



m 



r. g 






gP 



es 



• * A 









l rro , nqjrrff| tf l rr J ni l rp>i 



TAKING THE BREATH. 

It is important that the breath be taken at the proper time, The phrasing is often ruined by injudic - 
ious breathing. The breathing points, when shown in future exercises will be indicated by the sign j as in the, 
following example. 



Andante. 



^m 



' v 



i 



m 



f 






m 



* 




» r\ 



? 



ZZL 



i 



p 



V . ** 



f 




:- ff a. 



fa*ek 



r i rT r T f'* P l |C? 



s 



'td- i ffi 



A >- > . .wpu. #- 






^£ A ^ 



g i r r rr i r / II 



71-57115-95 



23 



Exercises on Dotted Eighth Notes. 

FOLLOWED BY SIXTEENTHS . 



Maestoso. 



m 



l g a g j. 



rrrt^nu^n i H^Q^u^r * 



m 



SPH 



J r-rT i u-prrr>r>if r/ * * ir -rr, 



c^qui/ipa 1 ^ S 



» • » 



zdz 



*w r c/r nCttjcjQ. |J r; /f H C j^ IB u JI N 



W C^ y JJfl M r J ' I ffl rill I r Cl^ 



#-# 



s 



2^ 



rf£ 






E/i fri r't , 




'■ i >f i r i ,f | Jt/ i rr r irinriii iifn'rrri 



> - 



BE 



^Tftrirfiirrig 



. gfe* g 




t^rWfr i rtc.#g^i 



Exercises on Double Dotted Notes. 

When two dots are placed after a note, the second has one half the value of the first dot. 
Moderato. 



e± 



^h. a r-pi" i r-P r ir r r i qt * iQrQ 




gzir-fr 



« -r— -?h — ■ 



* 



fei££ 



^om'TC fi^ i 



i 



s 



t U- 'i pCJ I Li 1 * 



z « " UJ 



3 



^ 




i 



m 



i# 



m±^+ 



-fc yir * * II 



^^jfe 



71-57115-95 



24 



THE SACCADE. 



The Saccade may be written either with rests or dots between the notes. 
Allegro. J = 152 

' 3 & 1 m *.mm ^ rjr 



w ?^;f-mm = \rvr?fr ir^nrr^prf^ff-u^ s 



1 2EgEE 



JRZ 



^ i , .^.» |r*rr*Tf | r^ tf ^g^^ftff^ | ^ \wwww^ 



Allegro. J =100 



■p- -* ^^ # 




Allegro. J z 100 



3 yg' a .irrft &i n at?. 




*£H 



§li 




m 



tt 




f 1 ft^7ff-/f i r^ 



p . 



p-p 



m=$; 



£ =m^ 




i k_k , 



,» ff,.. 



ffi 






^ ny i c ffrff^ ^ 



Allegro animato.J = i52 



4 ^^ 




-HY^ m 



z> ^m 



Allegro moderate ^=96 

P' mP' -+?- ^T- "I- 



-lUIf i cgTP 



i i ixr /r ? i i 




71.57115.95 



THE STACCATO. 



25 



Allegro. J.= 132 



i ^M zT-fLL rl Cg gg 



: n . m 



£fe 



± 



s 




i 



•\usLLs 



s 



g^ffi 



£#4^ 



£=* 



s 



I 



Allegro. J - 120 



kvx \ » r it 



2 ^m 



m 



m j ^ 



* 




i 




^s 



£=f=M 




s 



4& %£ 




P 




'^.r ^^ ^ pi 



Allegro. J r 120 



8 »bacf/Ltr 



Cjj i m-Ltfir iLLrnJ^iLc;c-S 



#-#• 



*i, Ejyi EJ i r i g § 




A A 



#"T* 



Mb 



ar icj/cjdi 



^ 



£S£ 



000 



,0 



£ 



Lx/r ' cifc 



4 ^ 



Allegro vivace. J.= 176 



^ 



-&- 



1 



p— l» 



LL/' J - ' lLLB 



s rrr rn 



#ff f < 



i 



=i 



?c=i 



^ 



^ 



MM 



£^ 






71 - 57115 - 95 



26 



THE SLUR. 



The practice of the slur is not only important in order to attain an elegant style of articulation but al 
as a medium for giving strength and flexibility to the muscles of the lips. 

Intervals slurred without having recourse to the valves are the most difficult, therefore, for the sab 
practice, we have introduced some unusual fingering which we do not advise the performer to use in pi 
tical performance. 



J = 



100 to ISO 



i m i r > 



^^ =w: 



k^-^ 



W=0 



5 r i r u 



• r 



m 






se 



f f \ f\ f Mf^ 



i 



r ' r i f n il 



¥ 



bm 



J31 



i. ZfL * t- 



2^f^ 



rn 



£ 



^3 



P- & 



rz: 



zz: 



^S 



P 



a n 1 * < ■> jrtiJ r* i ? rt i rnrir "* i r r nr ' n" ' *i r ' i 



fe^ 



■— -«- — 



g M 






rai i f t i r poir rHf "J<ifjnJ -1 



t^ 



/=>*> /=>i» 



4^j 



fei 



* . r # 



j^=-pf=±-p 



s 



P~=:fP~=if 



i 



a 



^ 



P 



I 



g^ 



5 '^ » Pf I f^ f 



u p . u g fe g | i. » i hr ^r i r^f | p je 



XE 



n 



n- 



H 



|? j g ^ |l?jg g |[> [ P I 9 " 1 1? o t i tq 



-|S>- _ -&■ _ ■«■ 



-©- 



fcf ,^f ,fcf ,t| 



LQ. 



3 3 






•&- -G- S- 



£ 



gljAyo 



l £ ja £ 42 £ 



71.57115-95 



27 



p, V^fjy-f 



» - # 



t— r 

3 3. 



f ff' it r r f fr ■ 

. I 'o r> 1 II 



P *> P ,U-UP - P 



-2—2 
3 3. 



t1p" r p | !f yVf fp f r T fr frf- 



M: t , , MgSgjli 0m3§j£ I' f^iTrff i t^wTfff 

P l i * ' * 'I a a I lit I — 

3 3 . 3 3 2 2 



« 



finite: ^ if.f #£*M^ 



rf- . rfrffrTrffr-frf . rfrf . ffr 



^ 



# 



7 . v : J ; c «N 



i 



s 



^w#f 



p 1 ' r i p? 



IM 



£ 



#-r* F 



VT ft y ' | y r [k y i J>y j 1ft g 



rf i ^fTf k T frfu„f^ 



Jry^-^Tt 



£ 



fes£ 



7 : l> gV 1 [p 1 ' r |i|pl I r | yfpTtfn 



£^#£ 



■K 



fri.,fr>i^rrf iM 



y ^ ^i i ng um 



P yf |F yf j)^ l 



8 ^ 



90 to 110 



*-\_m 



mmm i mm M 



*):■* # 


in 


Ff ff- : 

i # f— 


ft ff ff fi fi tff -> , . 

1 # # » E_^ E — # 










^ U4 ' *' ' 



i»S 



* • ri :i 



•_ «_:_. i 



*_i* 






us 



C$- . #■ ^#- -T#- ' ^i- ^i- ^*- 1* £■* 

+v.\ x — p — p r — 1» — - — p p~- — p-E — 0- s~- *!*■ 





71 - 57115 - 95 



28 



THE PORTAMENTO. 



The Portamento is a slurred interval and also a small grace note, which is merely a repetition of the 
previous note, carried to another by the use of the slur. The sign — = or r=~ is generally used in con - 
nection with it. 



Qe^M 



_Q_ 



a. 



? * r y » I r r M r * •> r I 



i y^> e, f ' <^-f— ^ 



3= 



(2 0. 



& 



fyf f r j f } J If P'vr ff » 



£ 



^ 



'# * 






p ir >' ^ y 



:?:- 



S 



nr \ H 



£l jf^ ,\C% 



r~+; Qi 



f V f |» tL^y_ |» r ¥ 



* 



Allegretto. 



2 9^ 



m ■ m 



£ 



i 



* 



> 



* * 



^^ 



A=r 



g 



^ <» o 



f 



i 1 * 



^ 



fee 



^ 



# 



M 



;f , , fl> 



£ ^ * 




^3^ 



^ 



£=f 



£m 






m 



kff fr 



Md 



e * 



> 



— 



*. 



s 



* 0L 



* 






V- # r 



? 



TONGUING IN THE SOUND. 

This form of articulation is executed by carrying the sounds one to another, without either slurring or 
separating them, by soft attacks of the tongue, mutely articulating the letter d(or syllable du).The articulation 
is expressed by dots surmounted by a slur. 






ricii/mr 



m 



*^E 



rif ftf AV r~j , fr ff ff ,7f i r " frfr i f r f to 




71-57115- 95 



MAJOR SCALES 



29 



q j=90 to 120 also in $ time J =90 to 116 



1-3S 



§S 



SE 



Nfe 



S^ 



cjXr : i i c^ 



p 



2 ^^ 



ijjjJ i r rrtref i ffPfr rrrirr xf Jn-n/Tf j 



Bt 



3 y^jfl 



T0 




ttcr*&tfj 



££frW 




4^ 



Al. 



5 >W"j J^^ C Tir crc^; 



s 



* 



ZZI a c^ : 



6 .^) l o r rfa^ i f ^ crf fi c ^r^fl t i a teer4 t ^r 



Gl> 



S 



7 Vl"i, ^<' J J^ g 



n j^ j r c: tfff ffl ETg^r i err r Jm i fli 



+-= — # 



Practice the above scales with changes of signature as follows: 
1 ■ 2 , „ ^ 



i« 



etc. 



2||ftaj /jjTTl j etc. >*#< J /? C | jLg 



.^'7^^^ etc. v^o/j^n etc. '>^ rr rr^V - v : *"j jjJJ^ 



etc. 



etc. 



MINOR SCALES 

A Minor. J = 90 to 180 also J = 80 to 116. 




w^W^ 



D Minor. 



S* 



^£ ftg F 



gpi»P 



£ 



G Minor. 



v : i,"<' j jj^ ri^ 



Mf £=£**». 




^fe#C^r ^M-/^Vi 



71-57115-95 



30 
C 



n, * J ^ f rtinmrjjf i dj rtftr i tfflrtg 



F MINOR, l L- # (3^.1 _ 

ass* r r rcrtf if mrr riffiQfmi^ ^ 



B!> MINOR 



"■w , nJi^'rt i r'r'T^ i ^f'rtrirrv^ 



IP 



i 




m 



e\> minor. 



m 



^rrfTiffr ri r r ^rrr^i^^ 



%m 



^3E 



i 



fctz 



G# MINOR. 



^ S " j ^tfr i r-fl r ^ij^air iB ^ 



^ 



C|t MINOR 



^J^ rrMrrtY ^ i ^ 



Hrf i ffH 



P 



= 



^ 



F# MINOR. 



^g 



S 



. ^feflfo ff . 



cg rmier^a 



^ 



g^i 



)** 



B MINOR. 



^i » j ji^tfir^^i^r' i ATirrfr S 



i 

p 



E MINOR, 



i HKflH r, 




Ife 




♦ # 



f# 




ffl 



^^ 



v : * » f [j 



^s 



Exercise On Chords. 
(passing through all the keys.) 



*» J^r 



^f^. 



EW E 



% 



^f | m r y | r ^T n ^ T ^ 



%m 



i 



m 



to 



t#e 



^frvr^ffr 



Ji rprfP 



* 



ip^ 



ilit 



f 



^rriiJijiiJr'H^rrri^rr^irr^ 



feii 



a 



71. 57115. 95 



STUDIES ON THE SCALES 



31 



J =104 also J=104 




See Page 19 for explanation of models 




Other fc ): , , g ■ m F 
Models. ■/ l"f r g [J gf 

J = 90 to J- =80. 



5 >- #■*•- 

— £ ^ ^- 




f*~# 



Finish for 
Key of B\, 



EPB1 



^ 



P 



I 



Models for other Keys. 

2 :■'-.■ s 



,;: * c-L 



F=* 



'iM.rlT 



W=+ 



S 



g! 



iv v ^ f f f F * » j* >» ■ g ' — r g g n i i .> » r - r — f-# 

-'' hi L ~ = " r ' ' i ■ [ -fr-V " I I I „,,] : =pr b g ==: I I 1 j jg 



Other Models of Articulation. 



gg 



=? 



or 



N^ 


^^ 



or 



3 : ' ^ EX/ u^j J J J IcXT 1 ^ li; i ci^ ^ Ll; 



^ frrtcrrrj \ }rt M 



****. 





tz r i c cf cfjr rr i rfrttr gg| 



m 



m 




uj\ii}ium\ajii!m^^->m 



Other Models. 



^ 



or 



EfcJ^LU 



Also begin and end on the first note of the second measure and play in the key of C: third measure in 
key of D|r. fourth measure in key of El?; fifth measure in key of F* 

71-57115-95 



32 




+. rn.fi*. +.-£+. A 



gf pfr.fffjfrf^e 




f A f-? 




ffrpf 



s 



/CN 



^ 



m 



mm 



K 



i» 



i*- 




yt i' dlrc ftr i Ci 



fe 



s^ 



:« 




#*! 



S 



? 



i> 



2 i? 



fffrt 




* 



cmcj^ i i^tt^i.dlr' t:i: ]ic[[r^^ 



3* 



i> 



#♦ 




7^^ 



S 



*■£* 




'^fflff. i r' r 



T-h.^in 



^fe 



fet 



£e£ 



fcfc 



2 



WJJ ]]? 



#- F# 



P 



^ 



frfrfh 



#* ,» # 



s 



gffpn 



s 



2* 



^s^ 



71-57115-95 



^ 



33 



8 




^ i^rrrrrto^[^,r^[7 J ' 7 * i r^'rrtt r ' c^"' 




9 •>• !,"!>(. <- j TJ*g j 



m 



^pg 




*5* 



i> 




#£**£>- 



HI 



ffCnterfyrTotfi 



«Lk , | »lf-»|, 



iri^M 



63* 



2 



i> 



»^ J^ j i OTm i crgr ^rinctf r&c rir ft r^ i ctf i'r ^ 



lo S^J^flB l JTflffTt 



fcaan t.ig l 



£ 



££ 



w 



i> 



^^ 



U J J})7* 



J J J})W 




rrifV 



9P 



l] rrTclc|ri 



— p 



ai cD '/ to i ^ i J^^UiP'P 



ra 



^ 



S 



'^'CilT g 



# =^-# 



i> 




J 



P^icEir^n 



^*i 



p 



\rUhi I rfrrte 



S££ 



^ 



SF 



* * 



i» 



^ 




s 



^i i DJjjyn i rmrm i .r,.xin 



BJ^JJ I ^^^^ 



/TN 



a 



^ 



71-57115-95 



34 



-rf m . 



& 



^ — p - 



I 



s 



• ^ •lI #+~ 



*>:*,, tgrc&r i tujrr'jjj- i rt l rp-* i r#r 



!fc 



fe 



^ 



* 



3ag 



i J^p^ i ri^rrrj fiig ^ 



*, # . # 



/?\ 



^si 



p 



^= — =#-# 



] i /jJ^Mrd>cg 



p 



*ot 



ii ^iw i p t i^y^p i ^rp ^ ? 






t&m. 



^Lrrr-Wl l JW^l/rfW 



S^f 



/r\ 



S 



fe^ 



CLLfXli'cilT 



1> — 



aft 



£#i* 



» M \ 



I 



fei 



gEftUgfc r 



14 ? : Y g j 



5* 




JE=M 



^ 



P 



P 



§| 







■ itfOT* 



*£*. 



frr'fr- ii 



PTMtt trC 



«j 



ir/> i.f 



£ 



£5* 



- — i> 



g 



' rL C/ ea; 




15 



^fe 



^jjjjPiBpi i r^n cjto i rfH^ 



* W jgjTO i jg H W jf iii^r ter% §1 i cftr Si 



71-57115-95 



CHROMATIC SCALE 



35 



J = 104 to a = 110. 



i ^h^V J nJ f r 'exiiLtlr r f rtg g 




, l f \f-r$rf - 




i% 



m 



ffftr r lrr -TWb 



m 



k=*d 



s 



^rr'rJ * II 



IN TRIPLETS. J = 10 4 to J=100 



2 ?t^ JhJJ it J^irri 



s,-r - - r i » b » !>; ■-+-"- 



Vf.bJI] 



S 



=^ 



f 



-#- 




71-57115-95 



36 



EXERCISE ON CHROMATIC PASSAGES. 



Allegro con moto. J no to 132. 



» 



fr f Pf m \ \ fm \> 



£ 



E 



W=^( 



^ 



JP £/#££ 



/ 



jp cresc. 



m 



p^ 




L£; * [If y 1LLT igip 



P m • m f g jza 



g-^ 1 - 



y * d J 7 



f 



p cresc. 



m 



^ m t m fA, 



s 



SB 



g^^i^rVrr^f | ffr>ry^ 



z 




r^^flf^ 



59 



CLff^aLfLfa^^cmlr^rrtf^TOl■J^j^ 



m 



b l i>Y^i r l fVrr i ^r^rr r^irr rT r r T| ^ vJJJy | J " J ^A i ^ 

afeV/z. ^"J p cresc. ^~~-~ -" 



m 



^jjj.p^ i ^ 




b ^ p g prffr 



#*# 



^fff^F 



g=a t 



EfS 



/ 



i»- 



vrif 



jg| |ii r rttrrr q r g rP ^r^ 



fflf 



^P 



g gg L—l 1 J I I [J |L, 1 I J =:=^=- 






JjJ^g 



tfcj 



g (gb* # 




y w> i? t * j^j j^j i ^^r^/ i p y^ &r 



Lrjifr x^ i j ^ i 



71- 57115-95 



TWELVE TECHNICAL STUDIES. 



37 




Other Models of articulation. 

1 i i I I I I 2 



vmH OT - j l 



71-57115- 95 



38 



2 ^ N^ 



^m 



rr* 



& 



I 



Jk 0- 




p=¥ 




f- tp 



I 



m 



r\ 



-e- 



r\ 



ZEE 



FF^ 



nr« . f r r , f ife! 



^e 




— m—0 



rrs 



— * * — * — ^ 



e* 3 



IT 



Hi "rrrf 




.f-# 



r\ 



3 ^ 



ro 






-o- 



9 + 



f-mf- f-ff- ff 






#-■-# 






£ tf- . f>i» . » - 



'^m 



^55 



i 



i 



rJI'rlfJ'riD 



^ ' ^ ' ^J 



gi rjU i cDJ 



a. 



0-. £- # 



CN 



li i ^ i mj i LUf i L^ i llf ^ii 



Allegro . 



4 ^^ 



— i m 0? m \ » *T i — * » pf"r P t Tf p T 

gp r rr n r| r c^' r if e^" 1 rii rrr 



g 6 F 



r .* 



[£jjr j 1 ^ ^ Loir 1 r ^Uzs^^Hm 






S 



ctffcrcri ^frJgri cfr j.cErj- i fjjj 



crrf i rrrrrff.f i 



, ): rrrf =fi f r iHr^rf 1 ' 



^\ 



ta rf*r?ir i 'rrp ii 



m 



Animoso . 



5 ^^ 




71. 57115.95 



39 



PPP P 



q ^ Bjlpl i 



*# 






££& 



tf£;BP^ii 



s 



afe i jj ijjjJifffi ^ 



#■#- -*- 



##•#■ 



«1A A 



m 



ffrff , r ###> 



ra 



sai 



^tPJLJi 



g fiE ( ij 3 5jfl]| r r^ l 



ffffp 



fffhr . rV pfp 




to to 1 ^71 



sees 




^f«r-mrnx 



m 



pp-p 



t 



cmf£f | totoi[r i ^ 



*^H* 



3 



tf 



: ¥tt^J"J]JJJJ | ^p 



TOLrrrrrrriL r CrcffflG i rtor i rrrr-TO 



illet^ i 'JJJ^ 



(7\ 

SI 



Other Models. 



^ <i J7T3 r > f'r n.rJiJj |g i jtp ^a 



7 Sgf P 





ff 






^.aJH-^ f 



a^ ^^g 



F.f4.ff, ^ 




9WTPJ 



gg^g g 



Other Models. z £_ 
71 -57115-95 



40 



8 'mn V\ ^r \ ^i: \ ^Li 



m 



' i til/ i rrrrfe 



• _ # 



t±rf 



* L_ * 



r i /iK^riLT'Ti r ^ei 



s 



s 



Other Models 
1 



,W J J 



1 \Ym ii 



9^S 




3 




-r~ =T 




M^ 




£ 




^ 



Hz 



10 



^ j^ i ^iJi^i^i^frx^ i crJ cJi 



^■Lf ^ l ^ 



Set 




^ 



i\\0 



Other Models 

1 _ » % 



f 



Allegro giusto. 



F 



S 



w'.nT? i i rj-n i:nT? ii .nT? nl ggg 



* 



* " y 



u »tia^cjrcJ^ic ,JryicJ 




i> 



££ 




ilsi 



^ r ^ 



^^ 



Aiidantino 



12 * ih « r r 



V I /•" 



ajeu ' L^ 



es 



P=3 



^ I J «,4 



» 



^ 



y 



^} 



^ 



^i. OJ 






*=* 



71-57115-95 



dim. 



P 



-* — » 



EMBELLISHMENTS . 



41 



These include the Grace Notes in general, Turn, Gruppetto, Mordente,and Trill. 

The Small Appoggiatura or Petite Grace Note, is a small note with a dash through its stem, thus: * It takes 
its time from the preceding note and is played very quickly 

EXAMPLE. 



Written. 



Played. 



a I <* | r v ^ f 



dt 



•^tJ'^ip fpr^f^ 



There are two forms of Douhle Appoggiatura; one consisting of two grace notes, (ascending or descending,) 
taken at the distance of a third from the principal note, and the other of two grace notes, one above and one below 
the principal note. 



Example. 



The Double Appoggiatura should take its value from the preceding note; thus:- 
Written. m . fc 



EXAMPLE. ^ : ^ (*; f U "- U 1 £ ^~ N ^L ' 




The Appoggiatura Simple is seldom used, for it is better and decidedly less confusing to write the passage out in 
full. A short illustration will fully explain it. It takes one half of the value from the note which it accompanies. 



Written. ^£ 1$_ 
EXAMPLE. *J : U 



J 



£ - fi. 



Played. £ -0- fh 



S 



M^f 



-»- 



The Gruppetto is a small group of grace notes including the Turn. We will first explain the Gruppetto of three 
notes. They are usually written in sixteenth notes unless attached to an eighth note, in which case the Gruppetto 
should consist of thirty-second notes. They do not take their time from the note to which they are attached. 



^E^ 



S= 



'i- 



3E 



* 



The Turn or Gruppetto of four notes comes after its principal note and takes its time from it; usually one 
half its value. Many forms are better written out in full, owing to the difficulty of proper interpretation. The 
following is the most simple form of Turn. 

Written. „ jjjj 



Played. 



^^ 



f < |f frfr rr =E 



The sign used to indicate this species of Turn is vs thus:21K: 



:SS 



I 



i 



The Turn consists of one note above, one below, and two repetitions of the principal note. The lower is the 
next note, but is sometimes raised a half tone by a # or \ placed under the sign as above. 

If the vpper note is changed the turn is written out in full. 

There are so many ways of rendering the Turn that a thorough explanation cannot be given owing to 
lack of space. 

As a rule the Turn partakes of the character of the composition. 

These all take their time from the previous note and are always to be performed in a graceful style. 

The Trill proper, consists of a shake upon the principal note and the next above in the scale, concluding 
with a turn. 

71 - 57115 - 95 



42 



In this case the lower note of the turn is usually a half tone below the principal note. 
The Trill is indicated by tr and the lower half of the turn is usually written out. 



EXAMPLE. 

3= 



g£ ¥f* 



3fc3 



v-v- 



A Trill for several bars is indicated thus *" 



■.-m 



<fy~~zz~ 



¥s 



&- 



£ 



i 



« 



A Long Trill on a note affected by a pause, should usually commence slowly and very gradually grow more 
rapid, while the Turn should be rather slowly and deliberately executed. Sometimes when the note following 
the Trill is lower, the Turn is omitted. 

The Mordente is a Trill without the Turn. It is indicated by the sign *v. 



Written. 



<**£—,_ /W <W 






Played. 
^3~~ 



^m 



m 



s 



The Gruppetto is ordinarily placed between two notes of unequal value and serves to give grace andele- 
ganee to certain phrases. 



Moderato. 



EXAMPLES. 

Allegretto 



Written . 



Played. 



\ 



m \ » r 



-iA- 



n=^ k 



?w 



«fi» 



£ 



f 




£ 






& 



SB 



#f* 



\ — as a- 



n»^T» 



OJ 



^Irrfrfr 



^ 



5= 



It will be readily perceived that a proper rendering of the Gruppetto will be a somewhat difficult problem 
to an inexperienced performer. Taste, judgment and general musical knowledge is essential for the proper 
and tasteful rendering of any of the embellishments. 

They should all be lightly and gracefully executed as a rule, although the character of the composition 
may at times call for a broad style of performance. 

The Cadenza. 

The Cadenza is a certain solo passage which is performed at the will or according to the taste of the per- 
former. It should partake of the character of the composition or the passage of which it is a portion. The 
usual fault with the amateur performer is to hurry over it and render it utterly without character. No re - 
gular rule can be given for its performance and thus the successful rendering depends entirely upon the 
judgement, taste and skill of the performer. 



Moderato. 



/> 



EXAMPLE. 



. ' AhcT tl 



r7\. 



S 



M^ftf^m 



rr> 



-^«" i »(i rl 




b* j»_ 



r\ 



±± 



ss: 



71.57115-9& 



43 



EXERCISE INTRODUCING THE TURN. 



Moderato. 



g 1 g r 



m — 0' U0 



gg if pr^ 3 




9 » * 



p dolce. 



\ ? I P dS 



^ 



> s f r r r r i^rLjj- d [/ ^ 



223 



g- n# 



p^ 



tt 



ns. r'Pr^£/l£§ ^ 



: ^s=[ 



gpig 



£ 



32: 



zc 



#-# 



ii . . i I \ 3 . F T ) iff ~ V " ^ wh 



a 



i 



a 



3 



[ j i ^ p 



» 



J L/' J ~^ 



a % h> 



^^ 



/ 

£ S#fi£ 




# tempo 

\ h$ $n yrt\\ nun 



*;= l J. Jl i JXI^ g 



r? f^ i f p r ^r ^ 



pi 



7 "' »• 



V — "w 



dolce. 



3 







£ 



p 



f y I g ^ f) f ' j* I r -f 



m£ 



.? 



IS 



rrW'Pr?t/ | ffj^ f# 



* » ^ # 



£#£ 



g^ 



^ 




71-57115-95 



44 



EXERCISE INTRODUCING THE TRILL. 



Marziale. 
4r 



% 



k )'-$\} (*> r l^tiJp v \ \ 



m 




t 



^^ 



m » F 



/' 



*r 



gS r ; ^ j J P v I v 



fei 




H^^ 



i 



£# 



£ 



l£i 



£ 



%r &m 3 



*mm 



tjL rrrr U 



*■ .^ 



•? .? 




fFT^f 



cx;i J -pr r ir 



^ 




cresc. 



- f 



*• 



^m 




rffrvn-i^ 




w — la. 



f 



S 





M 




#- * 



VAR. 



t 




r r p * 



gfj rfrr Mr 



^ 



? : g j j J ^ 



h 



g=tl 




# — 




<tr 



2=5 



s 



**r * 



?=*■ 



#= 3 ^ » » F 



^ 



cresc. 




•^rrrrr- 



32: 



^ 



tolil 



Mr mi u M l 



71^-57115-95 



THE APPOGGIATURA. 



45 



1 ^^ 



Allegro. J = 138 



*=* 



_# . 



£ 



o 



m^ 



±J0 m J m ■ 



# '# 



# — (5> 



n f r -r 



£ 



J> 



P g 



fe# 



_j2 



f o 



> te , f f ^rr rf r^r r'rr r -r r i^r r r irr-rr frrr i 


^z_4 : ' — p — 



m 



vt 



♦ 4 



i 



■f^-g- . . y •£» g t^ . . fJ ^ 






^ 



h f i fr \L i * >± f l ff i r i * , 


^4 1 LUJ . 1 U 1 ^ 1 



2 V : W I 



Allegro. J = 120 $ . 



IV 



i 



•f^ffffr^frfffr frfrf 



. ^ im £p ^ p . 




.-nrn — ^— s-n» n-r f r f f 'i-f frr f "T f r Ar F r f "I 





- jl *jp ||jl £ . V 



y' [y^l I ■'--" ' : " --' : ," 



I 



1 



Allegro. J- = 72 



t 



3 nu'rr r 



^ 



1 h» . • -^ 



£ 



jci r i ~-y 



* t» » 



% 



^ 



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fc 



gp^ 



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a 



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# lit # 



3 






£ 



^ fif f ^ 



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i* . » j. 



f^H 



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f, L. , tf \f fa£ 



r f r i i 



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71. 67115.95 



46 



THE GRUPPETTO. 



Moderate 

'Written. 



w»r-^4te 



i 



Played. '"T* 



Pj^ 



0-M+ 





sg r 



2 



I 



a&^ r -£^- 



gy » » 



^^ 



££ 



£#£ 



4* 



$- 



k»- tf 



^ 




The last measure illustrates the Turn, or Gruppetto of four notes. 



Allegretto. 

as - m 




■&■ cy> -~ 



m 



WYW 



CV jg 



£ 



* 



* 






^=m 




WTrw 



& 



^ 



# r* 



te 




Allegro. 



-<M>- 




»• gy tzm 



c\g 



OS 



SI 



jg 



£ 



rr Hi rr r/ - 



^ f^r^ 



« 




#q« 



§^# 



*■ y f*» ** 




OS 



h»- ! " i i" 



V : l,"i. f "^ 



^ 



fczz 



m 




£fe 



frfHff r £f[ r | 



p^ 




r r r i ^r r 



71 57115 95 



47 



THE MORDENTE. 



Allegro . 



\+^-^ v^-^ 

^gg 



-VV. 



i 



^ 



i 



if 



w -vv. 

*\ — -r - *v- 



§^ 



i 



# i # 



1 



^m 



j>^ j> 



■a 



£§ 



S 



i 



«^N J* 



ffjP 




^.vv, — vv 



9 : l> = f = ^ 



n§ 



w 



/^ 



6 



w 



i 



-vv. 



££ 



^ 



^ 



3 m. fa 



"H LgLg 



^ 



S 



fe 



fe 



5^ 



s 



^s 



Allegretto . 

W 



•vv 



-w 



■M &. 



m 



* 



2 



P^ffi 



i=m 



9 — 




Efe 



§¥ 





W 



w 



££ 



?>^ #■• 



w 




gpi 



m 



s 



£ 










mni 



§p 




W m • 



£ 



Allegro. 



w 



i 






■~ vv -ff- w 



I 



fe^ 



tv . t 






I 



*3 



v ' y 



i ' y 



2 



1-¥-+ 



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a? 



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^ 



lit 



s 



71.57115.,% 



48 



CADENZAS 



KEY of C. 



#f • *- 



^ 




r\ 



KEY of G. 






/Ts 



r\ 



* m ^[^T^rmg EB 



»i»ffi>,i»f 






teas 






I I ■■ $ 



KEY of D. 
fcV I- 



/C\ 0\ 




KEY of A>___ 

a- e 



m 



t- 



I r *r r | r r r r n r r ^ r » r r r r f r f r rl feE 



t £ * 



-«- 



KEY of E. 






^ ^ 



3E 



KEY of B. 




KEYofAk 




if-0- 



rj i?ff *- 



i \ ]f\m} rrrrrtn rtm^rr 



^ /?N 



-©- 



/7S 



KEY of Ek 

^4 




KEY of F. 



> r/ Ti L ^ ^ 




71.57115.95 



TRIPLETS. 



49 



(2 



73" 



14 



i ^iJp^i^c fnrr-rcrriccfrtT 




# v 




^ 



S 




*-^?-* 



* i a ■ 



aXLC; I [XT iLf 



Finish for 
Key of Bb 



?^7Hn~i 



See Page 19 for explanation of Models. 

Models for other Keys. 

3 I 3 3 _ ? . 4 



^ •? 



* ^ ^ 




Models for other Articulations 

s 

=5 "3~ •"#" ^ 



3 3 3 3 



^iH^^HJflffMJ^HJflJfli 





ij^^ 




^ ^- L 



3 vi'i, <' ^rc ^ 



j <?_ **## 



Bl 



^ Fffff . fffrfr rf 



ffi 



£ 



cTJ ccr cD . M r I - 1 



«? ^ _«? j> 



4 '^ H J^ rfrrj i c trrir'' f i f ff[iffffr i cm n| f l r Ji. 



Allegretto. 



j> ^«? 



5 ^Urjr^ y i m *^ ^'LiP ^ p ^ 



£ 



^ _ ,? _ m £ ft 



lb 




-TO » - ? P* P xT J xm*m\*m*xf m £ m x P pT P x m* mT A x P * m)>Pm I 

e n i^ Ccj p [£fi[£f [nf i r L' t rr i [jJ'Pi[cf^ Pi[rj-irr i 



^pN 



S ^^TW 



; fe^ 



■ ■? - i * r p- p 



JBaiMfai 



71.57115.95 



50 



MAJOR AND MINOR CHORDS 

(BROKEN CHORDS, OR ARPEGGIOS.) 



Tempo ad lib. 

KEY of C MAJOR. 

Tonic Chord. 



Dominant 7*] 1 Chord 




El? MAJOR 



ipiiB 




71-57115-95 



51 



G\> major. 



$mm 




■>%<• « ^ 



Bb MINOR. 



yft^TT! 



Ch MAJOR, 



m% « $$ \ m & 




8 



Al> MINOR 



E MAJOR 



^ fr rr ffif/ 



9 




A MAJOR 



10 




D MAJOR 



11 




G MAJOR 



12 




E MINOR 



*HHi ffl fc iF p 



tffl 



71. 57115.95 



52 



DIMINISHED 7^ CHORDS 

RESOLVED IN MINOR KEY. 



In A Minor, 



VHrffl 



* _a 



nJ-'-to'Mrr 



v* 



fe^ 



«£fy 



mg^^^m 



fmw T l rr ii lflJ 



# Ig #l»f *£^ ^tf>ff> few-gar ■ .ffe f 





=^?^ 



£ 



l * _* i * i #^ i * l 1 f^ il ( ?#s: i * 



S yP^ ito frrr Km l U LfrC fr ^m % 



^ 



# — =-# 



• ,: ^ ( --^'Lj1 



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#te 



y i, 'i ><i y m 



P 



^Ti^-in Set ".:: - - 



^ 



m fTfli i irff 




Em 



V? 



V 



: ^ly • i ^ •ff*ffe ^ zz. f>T l 



+wr-+m ft* 




^m 



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t" V LTU 



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bg. ^gjg^g^^gg Pfrffifr^ lfo»_ -^ 




• l UIrgQr Cacrtcnr i CcL T 



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•'•'Vi^^M 



fe 



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s 



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fcrf 




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w.M tr rrrrrfrftfffff i ^ irii a im J r n i^iriiriiirii i 



71-67115-95 



53 



INTERVALS 



SECONDS and THIRDS. 



lS 



jB I gj g; — rg 



(2 _A 



fbfelE 



?? B g 



£ 



£= 



• g| ,-J | a 3g=y 



S 



" ,; | p - T T^ 



^ 



g a » 



£ 



m m m 



m r DC 



*s^=F 



22 



r' f rrrtr 



s 



■ g i « 



I 



m • 



frf i n r r ir r^ 






sp? 



FOURTHS. 



23 



ZZI 



f i rf i rf i ^ 



? n IZZZZ 



£ 



p — " o 



3 



^ 



*_«. * 



<S^ 



«- 



zz: 



FIFTHS. 



3^ 



^R^ 



g ■?- .e> 



~Z2L 



i n 



p& 



£ 



# 



tv , r> 



^ 



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321 



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rJ I p J I J I J =^ 



SIXTHS. 



4:^ 



P^ 



iS>- 



fe^ 



•^ -f 2 - -P- 



z p zzzzz 



Z2= 



tfe 



zzz: 



9^ S=^ 



£- ^ 



42- 



42. 



£ ^ 



P^l 



? f J 1 



<5»- 



3 



SEVENTHS. 



5"^ 



4 — i g ml 



£l_£ 



r-fr 



tv g 



r ' i r 



s 



i 



f.i,f . r,ur 



-a- 



^4^4 1 



«■ 



£ 



32 



OCTAVES. 

6 



6 ?^ I f. 



6 

1©- 



i 



I 



1 

n. 
l — 



fefet 



i 



«- — -4 



*±^ 



tf 



£ 



£ 



a «• 



rs 



3 



fZ=-1» 



sz 



-p— =- 



£ 



£ 



32: 



t? — » 



'/l- 57115 -95 



54 



7 



S 



i^-jl^fiU^-^M^-N^m 



?=*=* 



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* 



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n r i rr Truth s 



fe£*I 



g 1 e g 



f r r r i r» rr 



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m 



jrjirJrJirJ^ 



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3 



f f , f £ , f f , f 



j 1 — v 1 — 






g=? — g 



£ 



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E 



2=fc 



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* 1 P~ 



/C\ 



S 



£5=* 



z 5 g 



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d : j 



« M * I I 9 



y ^ r l r r Tr | r r^r |r r^ 



. » # g * 



fM 



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22: 



1*- 1 — *- 



n 1 r 1 r 



g^ 



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3^ 



= 



±£ 



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*— 1 — * 



* * 



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.Cs 



I 



^ «l ! * i * * * 4- 



v : y p if r f r If f ' f r f * 1 ' r 



it ± *. 



£ 



/?\ 



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s 



* i r i i f j r ! 

- J l J t^r^ 5 



Ov 



fc=F 



^3 



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m 



1 



£ 



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£ 



■£ r*- 



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£ 



r 1 m 1 r n' r ^ 



f— ^ 



f 



h — F l 



^ 



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f^=^ 



T^rnr^ 



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-* — 1 — * 



Practice also the following models tv 1 
of articulation for each Key of N27, J 



1st Model. 



2d Model. 



• r # 



5ES* 



S 



Sli 



-*r^ — * 



71-57115-95 



TWENTY ONE STUDIES and ETUDES. 



55 



Vivace. 




£ * 



3 



&=j rf f f f i f f f W 



m 





cxn'cxu 



e 



g^pp 



£lj»_« 



? 



f^ 



£ 



^^ 



9 ^ 



J J"J r r rJ 



^ 






^^' = 







2 y b'l) <' 



Allegro con risoluto 

» m -0- 




S 



0-M-0- 



m 



£+*- 



cj m 



^m 



-&- 



i 



mi. rrrrpur i i F jp ^ 

^ = 



^ #- 



rrirfrr irr F 



./ 



p 






friff7f i fr7r =# 



/ 



<///». 



PP 



s 



s?\ 



XE 



1 



^ 



71- 57115-95 



56 



3S 



Allegro. J>= 120 




/ P 



4 






HH 




3£ 



5 



|_[j» ?Fv p -? | i P'r^h^ 



S 



5=3 



£ 



/=- =* i» 



z ? 




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fir J r I I 



^ 



f 



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ifl ttl #L 





T»-£l* 



5 y i ,'' » r 



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:-jt #- — 



tYP- W 




u 



C; J i : l l 



Other Models for N9 5 






vftAjMraMla 



71.57115.95 



57 



Allegretto. 









-p-* 



•hJ* 1 ? £^ 



m 



tk^Jt^JzZJi 




mm 




m 



trfc 



fciz 






• r^ |fr ^ — r— m __ 



- I M. 



_* 



mi 



■IL FHLr 1 [ r i cr a 



>^ # 



I 



-^ — ?■ 



s 



is 



^ fitw 



rV'^t : * 4 



^r f rT if^ffl 



n 



3s 



? .^ ggteA. 



I 



m 




zr 



1 



7^^ 



Scherzo Tempo Allegretto . 








ggi u 1 






cj h ^'c^i 




. , »rVf , 





CfF^K^ ; 



lg 




& 



c/c/ ' JJ tf 



m 



£ 



u^ q i^j j * 



2dz 



^ 



5 



f'fff . f Nri 





S 



ss 




0.0 



*£TiJt_EJE 



*?tee 







fciz 



£^g 



S§ 



tf- !| 



<?\ 



grfnmtn 



-jrz — 



P 



^ — 
rail 



wu^-tttvm 



s 



%m 



m 



&£.££ ± 



a tempo 





£^ 




tpft« 



71.67115.95 



^ 



58 



8 



7 1, 1, <', p rVr F r7? if rV? j rVr i f rVr f rT? i f rVr ' * 



i 



'^ I f "r r I r r r il jg r r r r f i!T " r r r *> 




-^ m • 



s 



^^ 



f-f-f 



gig f 





f-F-E 



• 



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a=t 



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I* 



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> j , 



• • 



f^=* 




3 



m 0- 



fVfr ,fV>f f^^ 



r i r i P up jj ^^ 



9 ' >: ^' J r rr^^ 



lei 



f Tf . 1 1 f7> u r ^ 



^===t 



m t r ^ ' irg^ 



£^ 



= 1 1 z:?y — =b 



Wda 



^ k£ 



k 



? 



pat 



^ , f fn r irfj g 



J r i r » - 



fifrr i frrf 



y i," ^r r 



£ 



£* 



# * 



fe£^ 



.*? * 



fr ir rj i \ \ 



-^ — ^- 



s 



J =76 tc 
1A V' " f 4 , 


. 92. 

ft j 


£ j 


£ . 


e 


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i 








€ j 





i — # — 




10 -^ I? l ' — #— 


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hf= 


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fe 


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I 



AAA* A * 



f s f 



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f e 



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Other Models. 



^f^¥ 



-Of- 



^ pi n f\ 



# * # 



=5E 



» 



I 



m 



71-57115-95 



59 



Moderate 



m 



11 2L& \ , <' r y r y f ? f . r 1 P y J |g M-| ^ y J~T ; 



#£ 



fe 



« « 



e * 



3 



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grryfr 



££ 



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»:, ! ., C ?J r ? g 



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Allegro. 



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t— rT^n ■' , — ^ , (t # i »' (g-= , ^ — ^ -<r , , r^v~' w "» • 



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71-57115-95 



60 



Presto. 



la g jiigii ii 



^ 



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14 ^P 



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;i- 57115 -95 






61 



Tempo di Polonaise 



15 %W 




ggptt 




JP 



, 



ffM^tf] 



fa -y 




fea 




3 



£ 



m 



t± 




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IFUS 



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el 



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71-57115-95 



62 



Allegro. 



16 ^f^ 



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Pt . f-r, 



B £JJ "LU I £ja 



^ 



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a 



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me 



cresc. 



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68 



MILITARY BAND STUDIES. 



These studies consist of melodies and extracts of difficult passages from military band arrangements 
of standard compositions. The dash n-^ wherever it occurs, indicates that an unimportant passage has 
been omitted, it being our aim to present only those which need some study. 



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II Trovatore. 



69 



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70 



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71- 57115- 95 



Lucia di Lammermoor. 



71 



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72 



From Overture "Merry Wives of Windsor.'' 



NICOLAI. 



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74 



From Overture "Tannhauser." 



Andante maestoso. 



R.WAGNER. 




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75 



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76 



From Overture "Anacreon" 



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From "Lutzow's Wild Hunt" 

Andante. L- 



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78 



From Overture The Beautiful Galatea." 



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80 



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71-57115- 95 



82 



RECREATIONS. 



The Radiant Heart. 



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71 - 57115 - 95 



84 



Afterwards. 



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AIR VARIE 



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71.57115.95 



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92 



Cujus Animam. 



Allegro maestoso. 

Solo /-""i 



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71-57115-95 



Grand Fantasia 

FROM 

ANNA BOLENA 



93 



INTRODUCTION. 



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71.57115.95 



96 



COMMON MUSICAL TERMS 



Accelerando, Accel.- Gradually increasing the velocity. 

Adagio -A very slow degree of movement. 

Ad Libitum, Ad Lib.- At the discretion of the performer. 

Affettuoso-With mournful expression. 

Agitato - Agitated, hurried, restless. 

Allegretto - Light and cheerful but not so quick as Allegro. 

Allegro -Quick, lively, but frequently modified by the addition 

of other words that change its e.\] ression,as ; 
Allegro Agitato - Quick, with anxiety and agitation. 
Allegro Assai- Very quick. 

Allegro Con Fuoco - Quick, with fire and animation. 
Allegro Con Moto -Quick, with more than the usual degree of 

movement . 
And'ante- A movement in moderate time but flowing steadily, 

easily, and gracefully, This term is often modified as to time 

and style by the addition of other words, as,- 
Andante Con Moto- Moving- easily, with motion or agitation,- 

rather lively. 
Andante Maestoso- Rather slowly and in majestic style. 
Andante ma non Troppo- Slowly but not too much so. 
Andantino- A little faster than Andante. This is a disputed 

term and in some old compositions it is used to indicate a 

movement .slower than Andante. 
Aniir.a or Animato - With life and animation. 
Assai - Very, extremely, in a high degree, as Allegro assai.very 

quick. 
A Tempo - In time; a term used to denote that after some dev< 

ation or relaxation of the time, the performers must return to 

the original movement. 
Ben -Well; such as Ben Marcato,Well marked. 
Bravura, con- With spirit and boldness of execution. 
Brillante- Brilliant. 
Cantabile- In a melodious, singing- and Graceful style, full of 

expression. 
Col or Colla- With the; as Colla Voce, with the voice. 
Con -With; as Con Forza, with great force. 
Con Amore- With tenderness and affection. 
Con Anima or Con Animato-With Animation. 
Con Brio - With life, spirit, brilliancy. 
Con Fuoco - With fire and expression. 
Con Spii'ito - With spirit, life, energy. 
Delicate- Delicately, smoothly. 
Dolce - Sweetly, softly, delicately. 
Elegante- Elegant, graceful. 



Espress, Espressivo or Kspressione-With expression. 

Faci le - L ight , easy. 

Giocoso • Humorously, sportively. 

Grazioso- Graceful. 

Grandioso - Grand, noble. 

Grave - Slow, solemn. 

Larghetto-Slow but not so slow as Largo. 

Largo-A slow and solemn degree of movement. 

Largo Assai -Very slow. 

Legato - In a close, smooth, graceful manner. 

Leggiero-Light,swift, delicate. 

Lento -Slow. 

Ma- Bui, as Andante ma non troppo, alow but not too much so. 

Maestoso- Majestic, stately, dignified. 

Marcato- Marked, accented, well pronounced. 

Meno-Less; as Meno Mosso, less movement. 

Meno Vivo - Not so fast. 

Mezzo- In a middling- degree or manner; as Mezzo Forte, 

rather loud. 
Moderato- With a moderate degree of quickness. 
Molto- Much, very much, a great deal. 
Molto Allegro-Very quick. 

Morendo- Gradually diminishing the tone and time. 
Mosso- Movement, motion. 

Moto -Motion, movement; as Con Moto, with motion rather quick. 
Non - Not, no; as Non troppo, not too much. 
Non tante-Not so much,or not too much. 
Piu- More; as Piu lento, More slowly. 
Piu mosso- More motion. 
Poco- Little. 

Poco Piu Allegro- A little more Allegro. 
Prestissimo - As fast as possible. 
Presto- Quickly, rapidly. 

Rallentando, Rail.- The time gradually slower. 
Rit, Ritard, Ritardando- Same as Rallentando. 
Scherzando - Playful, sportive,lively, merry. 
Sempre - Always; as Sempre Accelerando, always faster. 
8 morzando- Gradually dying' away. 
Sostenuto - Sustaining the tone. 
Stringendo- Accelerating the movement. 
Tempo Primo- In the original time. 
Tutti - All the entire band or chorus; in a solo it indicates where 

the full band or orchestra is to come in. 
Vivace - With animation. 



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